Richard Morrisさんのイラストまとめ

Tom Philips built up quite a reputation for himself as a portraitist a few years ago with portraits of sitters which feel physically constrained in their frames. This is his pleasingly cool-to-the-point of glacial likeness of the novelist Iris Murdoch.

'Great Dunmow, Essex.' Although John Aldridge painted portraits and figures in interiors, there are rarely figures in his landscapes. The countryside he portrayed is an inhabited one, closely cultivated and frequently punctuated by houses and barns.

'Figure Sleeping in Winter Sunshine.' Michael Rothenstein was a popular and brilliant print-maker as well as an excellent painter; one of the central figures in the renaissance in British print-making in the 1950s and 1960s

Joan Eardley depicts her first studio in George Street in Glasgow. It was here she painted her tender, humane, often humorous paintings of Glasgow children. Initially they came to her studio simply in order to watch her at work, but soon became her major subject #joaneardley

In common with much of Michael Andrews's work 'A Man Who Suddenly Fell Over,' is partly autobiographical. He later said the painting is 'about the complete upsetting of someone's apparently secure equilibrium and attempt to conceal that they have been badly hurt or upset.'

@aqua_aimee There's lots of artists I can think of but one who instantly pops into view is a self portrait by John Minton.

Michael Andrews’s painting of one of Soho’s most storied drinking dens, the Colony Room, is a who’s who of the art scene. That hot pink collar belongs to Francis Bacon. Artists’ model Henrietta Moraes is centre-stage. A chiselled Lucian Freud looks us straight in the eye.

'London Bus Horse.' Harry Becker lived in rural Suffolk during the early years of the 20thC and was probably the last artist of note to record the lives of the farming community in Eastern England before the advent of the tractor which swept away centuries of hard manual labour.

When Richard Eurich painted 'Flood Water,' during the 1950s, he was recognised as one of Britain’s leading contemporary artists who had made a name for himself through his highly detailed maritime scenes made during the Second World War.

William Roberts tried to sell 'In the Straight,' and another racehorse painting to the Royal Academy in 1949 - though one picture was accepted it was not hung: 'perhaps because only the Munnings' breed of racehorse is allowed to show its paces there,' he quipped.